A collection of ten records from the year that I either felt
weren?t up to some of the incredible
hype they received, were letdowns from a band?s previous
release, or just ended up as personal
disappointments. It?s been a great year and I couldn?t ask for
any more excellent albums, but
there?s always going to be some bad with the good, and 2009
wasn?t any different. Comments
welcome!

I can understand what the Lips were trying to do here. I can even praise them for their boldness and
persistent pushing of their own boundaries (see my review). But do I have to enjoy it? While I really,
really, really wanted to say yes, multiple listens eventually rendered it impossible. A grand album that is
undeniable in its scope and ambition, it?s also a schizophrenic beast of a record that shunned my
attentions
more often than it grabbed me. In trying to redefine music, Embryonic lost me in it?s own meandering
world, one that I struggled to get immersed in and which ultimately repulsed me.

Another fine example of artists at the top of their game coming up woefully short to matching the high
standards now expected of them. Til The Casket Drops is, in regards to most drug-happy rap releases
of the
year, an excellent release, but considering the massive success of Hell Hath No Fury and the three years
the Thornton brothers have had to work on a follow-up, it still comes up dreadfully short to what I?ve
come
to expect from Clipse.

A record that immediately drew me in with the fantastic ?Two Weeks? and whetted my appetite for
more
with ?All We Ask? and ?Cheerleader,? I was ultimately disappointed with the overall results. It?s not that
Veckatimest isn?t a good record; I can appreciate the meticulous songwriting and sharp production, as
well
as the rustic sort of experimental folk Grizzly Bear have mastered. But the album drags on for far too
long
without the kind of persistent hooks that the above songs promised, resulting in an album far better at
lulling me to sleep than anything else.

The hype surrounding this album was immense, but for all its intriguing edges and occasional flashes of
clarity, it still remains an impenetrable mess of an album. From the discordant singing and random
instrumental flourishes to the hyperactive song structures and lack of anything resembling a natural
flow,
it?s an album that tries too hard and ends up as merely a confusing jumble of experimental ideas.

Fresh off the riveting success that was his first solo album not under the Bright Eyes moniker, Conor
Oberst decides to celebrate with his buddies in the Mystic Valley Band, and, less than a year after his
self-
titled, results in Outer South. And that?s exactly all it sounds like: a celebration that tends to find
Oberst
and friends fucking around in the studio and throwing together an over-long collection of half-baked
Americana. Too much Mystic Valley Band, not enough sober Oberst.

Judging from Jay-Z?s habit of following a decent record with a subpar one, it should come as no
surprise
that The Blueprint 3 doesn?t match up to the American Gangster soundtrack, but it is a bit shocking
that
this may be Hova?s worst record since The Blueprint 2. Lackluster rhymes, vanilla production, and
guest
stars who routinely outshine the host, it?s a middling affair by a talent who seems content to let the
young
guns all pass him by.

Tinted Windows debut should?ve blown the roof off power pop, considering all the players involved.
Unfortunately it turned out just the opposite, a rote piece of work that is enjoyable for a spell but
largely
reveals itself to be less than the sum of its parts.

Time to Die is a good record, but after last year?s ridiculously awesome The Visiter, this release seems
more
like a stopgap effort or, worse, an attempt to cash in on their blogosphere hype while it still lasts.
There?s
nothing wrong here, but it pales in comparison to its predecessor and never really brings anything new
to
the table.

For their fifth album and first proper one after their breakthrough record Young Folks, Peter Bjorn &
John
inexplicably decided to tone down the sunny Swedish indie pop that made them famous and go all in
on a
bunch of dark synths and bad drum machine beats. The hooks are still there, but they?re mired under a
layer of minimalist bleeps and boops and undercooked lyrics. While an admirable effort, Living Thing
ultimately collapses under the weight of its own experimental tendencies.

Hey, I love Vampire Weekend and Ra Ra Riot just as much as the next pretentious indie douche bag, but
this side project, between VW?s Rostam Batmanglij and Riot?s Wes Miles, was an ill-advised dip into
Auto-
Tuned-to-hell pop mania that only reinforced the stereotype that side groups are where bad ideas go
to die.
Unable to decide whether it wants to be unironic pop or tongue-in-cheek hipster mockery, it fails
miserably
in both respects.

i've come to agree with that especially as i've gone back to visiter a lot this year, but i just can't fault time to die too much because they are delicious melodies. i am really disappointed in your hate for discovery.

what's hard to understand? everyone seems to be over-thinking it. it's as much a throwback to an era when pop songs said exactly what they meant as it a conglomerate of all the genres that influenced them, from the days of michael jackson to modern day animal collective and lil wayne. the only really socially conscious move comes on the jackson 5 cover because i think they are making that literal bridge of thought for us. that's the exact same formula as vampire weekend and yet it's applied to a more liberated dance context. the toy synths et al help to remind us to take this seriously only as light entertainment, which explains the wink they apply the lyrics. i get the same feeling listening to LP that i do daft punk's 'discovery' or 'futuresex/lovesound'

You and I have been pretty on deck with each other so far in your 'disappointed' series. Your 3 and 4 here are my 2 and 5 for year end, as I found much to love in Veckatimest. It's meandering songs and paddling hooks (and every song does have them, just in comparison to 'two weeks' maybe not as much) as well as what they do with their vocal harmonies. That where Grizzly Bear's magic lies I feel.

As far as Bitte Orca, I dunno, everything you seemed to state as a drawback to the album are the exact reasons why I love it so much.

But ya, good stuff, interesting read as always and you pretty much hit the nail on the head for the remaining 8 items imo. Cool.

Strongly disagree on #3, #4, and #7. The Grizzly Bear is unique but accessible. I think the Dirty Projectors' CD is plenty loose; I like it more than what many critics call experimental. And the Tinted Windows is just as fun after several listens.

I came to this list expecting to see about 5 albums I really liked. As it turns out, I have not even heard 1 of them. I guess you have backed up my decision to not do so Rudy... So thank-you very much.

Question; Were you tempted to put Brand New or Animal Collective on here?

no, i don't like daisy but it's not that i think it's overrated, i just don't like the direction they went in. i can see how others do though. and i don't think it's that big of a secret to tell you that animal collective will be in my top 20